This is the 7th EP from the ever-hardworking Kansas City veteran Tech N9ne. He’s fresh off his 22nd full-length ENTERFEAR that just dropped back in April & it turns out so much material was recorded for that particular album, that N9na has seen fit to release some of those cuts in the first of 2 EPs.
After the “Heist” skit, the first song “ENTERFEARENCE” talks about feeling disoriented over a groggy beat from MIKE SUMMERS a.k.a. 7 whereas the track right after “Bitch Slap” with Corey Taylor, GreatDaeg & Hopsin sees the 4 talking about hitting anyone who tries to harm their personal spaces over a trap metal beat. After the “Report” skit, the song “I Don’t Give a Pho” talks about not caring for bullshit over an eerie trap beat while the penultimate track “Inside” talks about giving himself a pick-me-up over an unexpected boom bap instrumental that works pretty fantastically. The EP finishes with “Specter”, where Tech talks about being a ghost over a melancholic beat from N4.
Personally, I think I might enjoy this EP a bit more than the album itself. As dark as ENTERFEAR was, most of these cuts should’ve made it onto that album because they would play into it much more solidly than the weaker cuts on there. Can’t wait for FEAR EXODUS at the end of the year.
Donnie Darko is an emcee from New Jersey most known for his extensive collaborations with New York producer, DJ & occasional Black Sunday partner-in-rhyme Sutter Kain. They just dropped a fantastic EP back in April called Before the World Got to Us & here we are 4 months later with a sequel project.
The album kicks off with “Tesla”, where Donnie talks about being a veteran over a hard hitting beat taking it’s name after the multinational automotive & clean energy company. The next song “Dark Noise” talks about how dope he is over a dark boom bap beat while the track “Trigger Music, Pt. 2” of course talks about guns over a beat with an alluring vocal sample. The song “Dark Sounds” talks about his opponents not being built the same as him over an apocalyptic instrumental while the track “Winter Music, Pt. 5” gets violent over a suspenseful boom bap beat.
The song “Death Merchants, Pt. 2” is a bloodthirsty horrorcore posse cut while the track “Dark Moments” with Appollo Valdez sees the 2 coming with the battle bars over a boom bap beat with some choir vocals in the background. The song “Dark Voices” talks about how he’s just doing his thing over an instrumental with a chilling loop while the penultimate track “Death by High Noon” with Danny DieRich & Mike Sanders sees the 3 talking about murder over a boom bap beat with some synths. The closer “Going Through the Motions Pt. 3” with McNastee then finds the 2 talking about what’s on their minds over a bleak instrumental.
As much as I really enjoyed Before the World Got to Us, this new EP is a cut above it. Donnie Darko & Sutter Kain continue to display their ever-so-natural chemistry as their respective lyricism & production on here is a lot darker than it was on the EP we heard just 4 months ago.
Boldy James is a 38 year old MC from Detroit, Michigan who I first caught wind of with his Alchemist produced 2013 debut M.1.C.S. (My 1st Chemistry Set). The critical acclaim of which that album received would land him a contract with Nas’ independent label Mass Appeal Records, but Boldy unfortunately got incarcerated sometime after. Upon being released, Uncle Al would help get his name back out there by dropping the Boldface EP last winter & The Price of Tea in China just this past February. Both of which where also widely praised & even resulted in a new deal with Buffalo powerhouse Griselda Records. To mark his debut with the label, Boldy has enlisted Jay Versace for his 4th EP.
After the “Pony Down” intro, the first song “Maria” talks about going from selling drugs to where he is now over a jazzy beat while the track “Nu Wave” talks about cooking up over a soulful instrumental. The song “Cartier” with Elcamino sees the 2 talking about having footwork over a rich piano loop while the track “Brick van Excel” talks about how it is in the streets will test you over an euphoric beat.
The song “Long Live Julio” looks back on his younger days over an old school sample while the track “Monte Cristo” talks about whippin’ it up over another vintage loop. The song “Cardinal Sin” talks about being from the east side of Detroit over a slow instrumental while the penultimate track “Bentayga” talks about “pitchin’ like Verlander” over a delicate sample. The EP finishes with “Roxycontin”, where Boldy & Westside Gunn talk about being tied up in the dope game over an angelic instrumental.
Not as good as The Price of Tea in China, but still a good follow up. Jay Versace’s drumless production goes over well with Boldy James’ gritty street imagery. However, I wish it was longer than just 20 minutes. Nonetheless, Boldy shows himself as a fine edition to the Griselda roster.
Felt is a duo consisting of underground veterans MURS & Slug. The pair made their debut in late 2002 with a self-titled full-length produced by The Grouch, but would step their game up a lot much more on their 2005 sophomore effort that featured front to back production from Ant. Last we heard from them was in ‘09 with a 3rd album that was entirely produced by Aesop Rock but after a dropping a loosie earlier this week, MURS & Slug are hooking back up with Ant to drop Felt 4 U out of nowhere.
The album kicks off with “Never Enough”, where the duo talk about leveling up over a funky beat. The next song “Find My Way” talks about forever paying the price over an instrumental to cruise down the street to while the track “Don’t Do Me Like That” talks about getting into arguments with their wives over a mellow beat. The song “Trees” sees the 2 trading bars back & forth over a boom bap beat with an organ loop while the track “Through the Night” gets romantic over a sensual instrumental.
The song “Freeze Tag” is a crowd mover with a somewhat disco inspired beat while the track “Sticks & Stones” looks back on their childhoods over a heavenly instrumental. The song “Underwater” gets back on the love side of things over a fittingly aquatic instrumental while the track “Alexander F’real” continues to show their chemistry over a slick beat. The song “Hologram” with The Grouch & Aesop Rock sees the 4 talking about how they don’t give a fuck what people be hollering over what could possibly be the darkest instrumental on the whole album while the penultimate track “Crimson Skies” talk about being at the crossroads over a cinematic boom bap beat. The album finishes with “Borboleta”, where Felt talks about how far they’ve come & how far they have left down the road over an summery instrumental.
These guys have never disappointed me personally & this is a pretty damn good comeback for them. Ant absolutely kills it on the boards whereas both MURS & Slug both sound like they never left because the way they compliment each other is still as fantastic as ever.
ReadyRockDee is an MC from Bridgeport, Connecticut most known as a founding member of the group Rowdy City. He just dropped a live album not too long ago & already, here we are with the man’s debut EP.
The EP starts off with “Still I Rise”, where ReadyRockDee talks about how nothing can slow him down over a boom bap beat. “The Chosen One” talks about how he has so many blessings over a rich instrumental while the song “What I Got to Lose” talks about being the truth over a triumphant beat. The penultimate track “What You Reppin’” with Teezy Money sees the 2 showing love to their respective hometowns of NY & CT over an aggressive instrumental whereas the closer “Lit & Dangerous” talks about being just that over an airy beat.
I personally thought this was a dope EP & would love to hear a full-length from ReadyRockDee at some point in the future. His presence on the mic is more ferocious than it’s ever been & the soundscapes on here suit him well.
Stevie Stone is a 39 year old MC from Columbia, Missouri who first gained attention as one of the very last 2 artists to ever sign with Ruthless Records alongside Hopsin. Both of their full-length debuts New Kid Comin’ & Gazing at the Moonlight received little to no promotion, leading both artists to leave the crumbling label. Hopsin went on to form Funk Volume shortly after before closing shop in 2016 whereas Stevie signed to Strange Music in 2012. He eventually became one of the label’s biggest artists with albums like Rollin’ Stone, 2 Birds 1 Stone, Malta Bend & my personal favorite: Level Up. Then came the JL collab album Kontra-Band in 2018, which was really good too. But after Tech N9ne dropped his latest album ENTERFEAR this past spring, things over at Strange slowed down drastically due to the pandemic. However, Stevie is helping the Snake & Bat back in their groove by dropping Black Lion.
The album kicks off with “Set in Stone”, where Stevie talks about being unchangeable when it’s all said & done over an acoustic guitar. The next song “V.I.P.” serves as a club banger with a cavernous trap beat while the track “Type of Time” talks about being a threat over a MIKE SUMMERS a.k.a. 7 instrumental with a cool woodwind thrown in.“Underrated” vents about deserving more appreciation over a delicate instrumental while “The Worst for Me” details how this woman can’t leave him over a luxurious boom bap beat.
“Can’t Deny It” talks about a groupie wanting to chill with him over a smooth instrumental & while “Selfish” featuring Flawless Real Talk finds the 2 talking about why they’re so finicky over a vibrant beat with a woodwind sample. The track “No Permission” gives the listeners a proper clue of what his do’s & dont’s are over a druggy instrumental while the song “Teknique” featuring Tech N9ne gets sexual over an hyphy beat.
The track “Conquer” featuring Spaide R.I.P.P.E.R. is a decent mosh pit starter while the song “Jungle” featuring King Iso gets on the more braggadocious tip over a trap beat with a unique cricket loop throughout. “Dope Sick” talks about hard he be going over an intimidating instrumental from Wyshmaster while the track “Holiday” featuring Maez301 is an incredibly fun party anthem.
“Hennessy & Harmony” talks about being all in over a cloudy instrumental while the track “Vibe” featuring ¡MAYDAY! stoner’s tune backed by the reggae style production throughout South of 5th. “Some Days” speaks on having all these emotions bottled up over a piano-inflicted trap beat while the penultimate track “Still Standing” featuring Rittz finds the 2 talking about how far they’ve come over a melancholic instrumental. “Taste” ends the album opening up about how much fame has changed him over a chill beat.
Like I said earlier: Stevie Stone is one of the most prominent acts on Strange Music & this album is a fine example as to why even if it’s said to be his last under the local indie major. There are a couple of features that don’t really land with me, but you’re gonna get a good look at how much he’s changed throughout the years & the artist/person that he has become today.
This is the highly anticipated sophomore album from Baltimore emcee Jay Royale, who came onto my radar not too long ago with the release of his 2018 full-length debut The Ivory Stoop. But after a couple of big features on Vinnie Paz & Daniel Son’s latest albums, he’s back on his own for The Baltimore Housing Project.
The intro is pretty much Jay setting the tone for the whole album on top of a minimal yet punchy beat whereas the next song “Thousand Gram Figero” with Skyzoo sees the 2 coming with the battle bars over an old school boom bap beat. “The Town” pretty much describes the city that he grew up on over a foreboding instrumental while the track “Skee Rack” with Ransom goes at people who doubted them over a hypnotic beat.
The song “Pearl Handle” with Ill Conscious finds both of them talking about being strapped over a beat with a grim guitar passage while the track “Tint Cruddy” with Termanology sees the 2 talking about making it over an instrumental with a heavenly loop. The song “Hate to Love It” talks about his validity over an orchestral beat while the track “Lime” with Willie the Kid talks about how no one can compete with them over a piano & some heavy drums.
The song “Levaz” talks about pushing drugs over a boom bap beat with a luxurious piano loop while the track “Reefer Clouds” paints some dark street imagery over an instrumental with a plucky guitar loop. The song “Charles S. Dutton” gets back with Ill Conscious to reminisce on their childhoods over a flute-tinged instrumental while the penultimate track “Unreasonable Doubted” talks about people doing shit behind his back over a shadowy instrumental. The outro starts off with Jay talking about trying to bring back those classic Nas/AZ vibes on top of a murky beat, but then transitions into a decent “Unreasonably Doubted” remix.
If you liked his verse on “Scorched Earth”, you’d definitely enjoy this album because it’s probably the man’s best work yet if you ask me. The production is a lot more grimier than The Ivory Stoop was & Jay Royale does a great job at taking the listener through the experiences he had in his hometown.
Black Soprano Family Records is a Buffalo, New York-based independent record label founded in 2016 by Benny the Butcher of Griselda fame. Their roster has significantly grown throughout the years with the likes of Duffel Bag Hottie, Rick Hyde, Loveboat Luciano, Joneszy & even battle rap icon RJ Payne. The label just inked a distribution deal with E1 Music a couple months back & are releasing a DJ Drama-hosted collective effort to celebrate.
The EP kicks off with “Quarantine”, where Benny the Butcher promises his homies currently locked up that he’ll be rich when they come home over a violin-inflicted boom bap beat from Chup. The next song “Grams in the Water” by Benny, Loveboat Luciano & Rick Hyde of course talks about pushing coke over a dreary instrumental while “Da Mob” finds Benny, Heem & Rick talking about the crew being impeccable over a grimy beat from DJ Shay.
The track “In Love with the Streets” by Heem & Jonesy talks about what makes the hood so special over a boom bap beat with an alluring vocal sample while the song “Rick & Fonz” is a Rick Hyde solo cut about how he can’t go broke again over some synthesizers & some twinkling keyboards. The track “Paulie & Vito” by Heem & Rick goes at those who disrespect their names while the song “Valarie” is a Heem solo joint about what it was like growing up in Buffalo over a dark beat. The closer “It’s Over” by Heem, Rick & Benny then talks about wealth over a soulful Don Cannon instrumental.
Not a bad showcase effort from the Black Soprano Family. I was expecting it to be a little bit longer than just 8 tracks & 27 minutes, but everyone on the label stands out in their own way & does a fine job of giving the listeners what they’re capable of doing.
Flee Lord is a 36 year old emcee from Queens, New York & one of the hardest working people in hip hop today. Dude dropped a total of 5 projects last year & since this past February, he’s been putting one out every single month with the previous being Alter Ego Fleeigo Delgado. To kick off the 2nd half of this run, Flee is starting to bring the big guns out by enlisting the revered Pete Rock for his 10th EP.
The intro starts out with Lord talking how he’s living in the danger zone over a menacing instrumental & then the song right after “Stuck on a Grip” talks about his plan to become rich over a boom bap beat with a whimsical loop. The track “Surfin’ wit a K” talks about how he never caps over a forlorn instrumental while the song “24 Hollows” proclaims himself as a top dog over a rugged instrumental. The track “Different Options” talks about how he’s gonna always bring it home whether it be going independent or major over a ghostly instrumental while the song “Retired from the Sniffy” is a short yet killer freestyle backed by a boom bap beat with a dope ass piano loop.
The track “Job Done” talks about how he’s still moving in the hood over a slow instrumental while the song “Mini Mac on the Fridge” talks about he be spitting facts over a jazzy beat. The penultimate track “Givin’ Ya my View” is essentially his opinion on the George Floyd protests with a dismal instrumental & then the EP finishes off with the outro, where Flee Lord starts bragging about where he’s at today on top of a Bollywood-influenced beat.
This guy’s been one of my favorite NY spitters for about a year now, but he really outdid himself on this one because this is his best body of work yet in my personal opinion. Lord keeps taking his pen game to a higher level & Pete Rock completely knocks it out of the ballpark on the boards.
This is the 2nd EP from New York trio City Morgue. I became a fan of theirs in 2018 because of how ZillaKami, SosMula & Thraxx uniquely fused trap with metal on their debut Hell or High Water. A sophomore effort As Good as Dead came out just this past winter & even through Thraxx hardly did the production on there, Kami & Sos were able to get the criminally underrated Mike Dean to fill in that gap. But with their tour being one of the many to get cancelled due to the COVID-19 pandemic, they’re making it up to the fans with Toxic Boogaloo.
Things start off with “THE ELECTRIC EXPERIENCE”, where the duo compare themselves to Deadshot over a bombastic beat from Powers Pleasant. The next song “HURTWORLD ‘99” talks about wanting to fuck up anyone who comes at them over a trap metal instrumental while the track “YELLOW PISS” finds ZillaKami going solo to talk about death being longer than life over a chaotic beat from Thraxx. The song “BUAKAW” talks about their haters being pussy over some hi-hats & heavy guitars while the track “YAKUZA” is an unfinished SosMula solo joint backed by a beat that sounds something out of a horror movie.
The song “CRANK” sees the duo getting back together to talk about getting into altercations carrying MACs on them & not the Mac line of Apple Inc. computers over an eerie beat while the track “YOU CAN SUCK MY DICK” is another ZillaKami solo cut about him bringing the smoke to anyone who wants it over bass-heavy instrumental. The song “ALL KILLER NO FILLER” talks about destroying shit over another trap metal beat whereas “SUPER SOAKA” is of course another SosMula solo song that’s even more half-baked than the previous one. The album finishes with “PROSTHETIC LEGS”, where the duo talk about being wardogs over an abrasive beat.
Coming from someone who enjoyed City Morgue’s last 2 albums a lot, this project is a disappointment. I think their whole style is still unique, but it just sounds like ZillaKami & SosMula rushed the shit outta it. Hopefully they take their time on the next album.
Legends Will Never Die 